A
Small Selection of Modern
Continental Prints currently in stock
This
link: Modern
Continental Prints 02,
will allow you to view the featured prints
from the
subsequent selection of Modern Continental
Artists |
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print featured here, please contact
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of these prints have since been sold and
are marked as Sold.
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TAVIK FRANTISEK SIMON
Zelenice, Bohemia 1877 – 1942 Prague
Simon
first visited Paris 1902-03 and settled in
the city from 1903 until the outbreak of
the First World War. The contemporary vogue
for colour etching in Paris was an inspiration
to him. In 1906 he joined the Société de
la Gravure Originale en Couleurs.
Boulevard
St Martin in Winter, Paris
Novák 220, Baker 130 315
x 363 mm
Original
colour soft-ground etching and aquatint,
1914. Signed in the plate with the etched
monogram. Signed in pencil. Edition of 250.
Numbered unclearly in pencil 347? Published
simultaneously in 1919 by ‘L’Estampe
Moderne’,
Paris & FH Bresler, Milwaukee. On japan.
Sold
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KARL SCHMIDT-ROTTLUFF
Rottluff, Saxony 1884 – 1976 Berlin
The
Elbe was central to Schmidt-Rottluff’s life in his early career. Dresden,
inland on the Elbe, one of the largest freshwater harbours in Germany; was where
he studied and joined the Brücke group of expressionists and Hamburg, on
the estuary, was the home of his friends Rosa Schapire, who compiled the catalogue
raisonné of Schmitt-Rottluff’s prints, and Gustave Schiefler. In
the winter months of 1910 and 1911 he rented a studio in Hamburg while in the
spring and summer months he worked at Dangast on the coast, south from the mouth
of the Elbe. Varel was near to Dangast. Schapire catalogues this harbour view
as Elbhafen, whereas the Brücke Museum exhibition catalogue by Hirmer describes
it as Vareler Hafen.
Elbhafen
or Vareler Hafen
Harbour
on the Elbe or Varel Harbour
Schapire 44 230
x 322 mm
Original
woodcut, 1910. Signed in pencil and dated.
Very rare. Printed by the artist himself
in a small edition, probably about ten impressions
only. On wove paper, generally in very good
condition, skinned patches on the verso.
£10,000
Schmidt-Rottluff
also printed this motif appositely on a postcard
which he sent on October 1911 to Frau Ella
Kohlstedt in Berlin telling her of problems
with his travelling by steamship for his
imminent move to Berlin.
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EUGENE
DELACROIX
Charenton St Maurice 1798 – 1863
Paris
Delacroix
was inspired to begin a series of lithographs
based on the medieval Faust legend after
seeing a musical play Faust by G. Soame on
a visit to London in 1825. For the first
edition in 1828 the publisher Charles Motte
insisted on a direct connection to Goethe’s
Faust and included a French translation
to accompany the set of 17 images, which Delacroix later considered prejudicial,
though he lithographed a portrait of Goethe as frontispiece. Béraldi described
the Faust lithographs as d’un Romantism échevélé (unrestrained,
wild romanticism). Their visual appeal is reflected in their subsequent reissue
successively by Villain, Vayron and Goyer et Hermet.
Faust dans son Cabinet
Delteil 59 vi/viii 250
x 175 mm
Original
lithograph, c.1827. Lettered by the printer.
Issued by Vayron, 4th published state of
6. On wove paper. Small defects in the large
margins.
Sold
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CAMILLE PISSARO
St Thomas, Danish Antilles 1830 – 1903 Paris
Portrait
of Paul Cézanne
Delteil 13 272
x 218 mm
Original etching, 1874. Signed twice in the
plate and dated. From the only edition. Issued
in 1920 in a total of 75 impressions; one of
the first 15 on japan paper. Numbered in pencil
11/75. One small intrinsic paper flaw.
Sold
Etched
the year of the first Impressionist exhibition
in Paris, in which Cézanne
also participated, through the offices of Pissarro.
In
1874 Cézanne was thirty-five and
living at Auvers-sur-Oise to be close to Pissarro,
his mentor. In the last year of his life, 1906,
Cézanne described himself as the pupil
of Pissarro.
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THEOPHILE STEINLEN
Lausanne 1853 – 1923 Paris
Perhaps
more than any other artist-printmaker, Steinlen
is the master portrayer of cats. Not only
did he produce some of the greatest printed
images of cats, he also drew them, painted
them and modelled them for small bronzes.
One of his paintings from 1905 is entitled ‘Apotheosis of Cats at Montmartre’ (Apothéose
des Chats à Montmartre).
Chat sur le Plancher
De Crauzat 88 ii/iv 152
x 254 mm
Original
soft-ground etching, June 1902. A pencil
signed, dedicated trial proof, to Eugène
Delâtre. Second state of four, with the
additional work in drypoint and the first application
of aquatint to the floor and wall. One of only
three proofs thus. (A total of only thirteen
impressions in all were printed across the
four states, eight in black, and in conjunction
with a second plate, five in colours, before
the plates were destroyed. There was no edition
in the definitive state.) Printed in brown-black
ink on thin cream wove paper.
£6500
Steinlen
only took up etching early in 1898. He benefited
from the on- going help of the experienced
intaglio printer and etcher Eugène
Delâtre. As in the present example, he
quite frequently dedicated proofs to Delâtre.
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ALBERT WELTI
Zurich 1862 – 1912 Berne
A
Swiss painter, etcher and muralist Welti
trained in Zurich, in Munich and with the
Swiss romantic symbolist artist Böcklin. He also spent time in Paris
and exhibited there with some success. The Bénézit dictionary describes
him as a “lyrical realist”.
Portrait of Franz Rose
Wartmann 20 (iib/iv)
340
x 285 mm (image); 388 x 340 mm (plate)
Original
etching, 1893. A rare remarque proof (a state
undescribed by Wartman). Signed in pencil.
Welti’s own proof, annotated
in pencil on the reverse Eigentum Prof
Welti (Property
of Professor Welti). Printed in brown-black
ink on chine appliqué on wove. Various
defects in the wide margins of the support
sheet. A little soiled in the plate margins.
Sold
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